Natural Beauty

Nonnie's Oak, New Hope

Nonnie’s Oak, New Hope


Fear stood oaken
In a meadow
Gathering to storm
Upward into a sky
Of trouble.




this lake:
a slow filling, not a running
and not of water but of color;
sky engulfing
Earth in its tissues and paints, warmer
for water; a mirror
engulfs the engulfing sky,
mirrors bigger, more.

And the scene
has not yet found green
in staggering energies
of a month with a name —
the scene
seeping, like sky to water, like water
to root, like sap to color:

Cundy’s Harbor

Cundy’s Harbor


Skip, memory, smooth as a pebble
Over a rippleless surface.
As ponds lap shores, words lap worlds,
Lipping warmth and wish.
A bank of grassy yellow — or
Would you say the tawny
Pelt of summer slumbering?
Memory — numberless,
Humble, human —
Hasten to catch
A where, a when,
A quiet (brush on canvas),
A mothering light.



Where it all
Where the open is
Where shriek where tick
Where slopes of chance
Where slow evade
Where erode
Where surge withdraw
Where electric concentrate
Where sink
Where decay lace
Where the torn foam
Where reeds incline
Where the edge the ecotone
Where to osmose
Where brevity wave sinews
Where through sieve mud light
Where salt meets the sweetness of the burn
Where dawn shifts evening
Where rags of possible
Where press filter quiets
Where what tiniest organic infinite
Where spawn tang of estuarial sump
Where tidal diffusion song cluster
Where only rise
Where it begins

“Artists through the ages have always tried to accomplish the impossible, fitting the great expanse of nature within the confines of a two dimensional canvas. I do this to share with the viewer the thrill of seeing a particular slant of light, the recognition of mortality in a rotting tree trunk, or the sense of peace and well being on a late afternoon by the ocean. Because the fragility of the environment is becoming increasingly apparent, I want to observe and record the world around me as closely as I can. John Sloan said, ‘Nature is what you see plus what you think about it.’ Working in the studio from sketches and photographs, I mentally return to the place I am painting until I can feel the warmth of the sun or the sound of the breeze in the trees. By re-experiencing the moment that inspired the painting, I feel I am putting down my own kind of truth about Nature and where I stand within it.”
— Eliza Auth

Eliza Drake Auth

Eliza Drake Auth

Eliza Drake Auth

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Eliza Drake Auth is a painter who lives and works in the Philadelphia area. She is a graduate of the Pennsylvania Academy of Fine Art. Primarily a landscape painter, her work can be seen at Sherry French Gallery, New York City and Richard Rosenfeld Gallery, Philadelphia.

Works by Eliza Drake Auth

Natural Beauty

John Timpane

John Timpane is the Media Editor/Writer for The Philadelphia Inquirer. His work has appeared in Sequoia, The Fox Chase Review, Cleaver, Apiary, Painted Bride QuarterlyThe Philadelphia Review of Books, The Rathalla ReviewPer ContraVocabula Review, and elsewhere. Books include (with Nancy H. Packer) Writing Worth Reading (NY: St. Martin, 1994), It Could Be Verse (Berkeley, Calif.: Ten Speed, 1995), (with Maureen Watts and the Poetry Center of Cal State San Francisco) Poetry for Dummies, and (with Roland Reisley) Usonia, N.Y.: Building a Community with Frank Lloyd Wright (NY: Princeton Architectural Press, 2000), plus a poetry chapbook, Burning Bush (Ontario, Canada: Judith Fitzgerald/Cranberry Tree, 2011). His e-mail band, Car Radio Dog, has just released its second CD, Back to the Bone.  He is spouse to Maria-Christina Keller, and they are parents of Pilar and Conor.

John Timpane in this Edition

Essay: Religion, Science, and the Legacy of Sir John Templeton

Fiction: Fiction: Or is It?
Poetry: October